Halloween is swiftly approaching, as seen in the changing of the leaves, the emergence of chunky sweaters and every social media site making lists of the best autumnal recipes and horror movies to try this fall. In keeping with the season, if you’re looking for a haunting and captivating experience that deviates from the traditional 19th century drama, then the Case Western Reserve University Department of Theater has quite the treat for you. Written by Jen Silverman and brought to life on stage by David Vegh, associate professor and director, “The Moors” is a production that will satisfy every gothic bone in your body.
Set on the desolate English moors from which the play derives its name, Silverman tells the story of the house of two sisters, their maid, their dog, their ambitions and what happens when two outsiders are thrust into this precarious environment. Silverman’s tribute to the Brontë sisters is an amalgamation of 19th century themes and modern ideas that has made it a hit, specifically among college theaters, since its publication in 2017. Chock-full of stomach-knotting tension, delicately-handled comedy and objective-driven characters, “The Moors” is “tonally all over the map,” a feature that inspired Vegh to tell this story. Sensitive themes contrast starkly with the harsh environment of the show, and they beg the question of what it means to be truly “seen by another person” and “what it means to be chosen.”
When watching the play unfold on stage, it’s quite easy to be swept along with the story through a plethora of engaging acting techniques as well as atmospheric design qualities. Through thrilling lighting, costumes that convey distinct characters and sound design that ranges from melancholy to entertaining enough to have you dancing in your seat, the design team manages to draw each one of your senses into the performance.
Beyond effects, there is a genuine drive from all of the actors to “raise their [own] personal bars for performance.” Each actor uses pacing, breath, pitch and sincere reaction to create larger-than-life characters from the moment the show begins. It is clear the cast is tight-knit, and their understanding of their peers on stage is just as deep as their understanding of their own characters. This quality creates an interconnectedness between characters, and as the show progresses, each character begins to subconsciously assume attributes of their scene partners.
While many of the characters grow to mirror and emotionally intertwine with those around them, the contrast between every combination of pairs on stage is truly human. From her first appearance, Agatha (Tabitha Raithel) holds a steely control over herself and her house that can be only momentarily pierced by the exuberant and explosive nature of her sister, Huldey (Jasmyn Zeigerson). The Mastiff (Dominic Monczewski) and A Moor-Hen (Lisa O’Brien) delight with quizzical and heartfelt discussions throughout the piece about what emotions mean and how they are experienced. Emilie (Liv Carle) explores the strength found in softness while Marjory (Rachel Greidinger) provides a harrowing and witty performance that both unnerves and amuses audiences. One thing’s for sure: Every person working on “The Moors” brings with them unique qualities that create an eerily wonderful experience for the viewer.
Upon viewing CWRU’s production of “The Moors,” the audience is challenged not only to watch, but to consume and digest the play, something that sets Silverman’s script and Vegh’s directorial abilities apart from other, more contemporary pieces. This production is a must-see for the fall season, and after a stellar first weekend of performances, be sure to buy your ticket in advance for this coming weekend.
Tickets are $5 to reserve a spot in the Maltz Performing Arts Center’s Black Box for either Friday, Oct. 13 or Saturday, Oct. 14 at 7:30 p.m., or Sunday, Oct. 15 at 3 p.m.